Lightning vs. The Lightning Bug

How do you know when you’re finished and it’s time to submit? Do you take a break or start right on the next one?

by Paul D. Marks

Second question first: In the Good Old Days, I used to take breaks before next project, not these days—in fact these days I usually have more than one thing going at one time. Work on more than one at once and they overlap. No rest for the wicked.

And now to the first question:

Me after I'm done editing

You never really know when something is done—because you’ll always find something else you know you can do better, to fix, change, etc. As a pantster, versus being an outliner, I fine tune and fine tune, until I get something I like. My early drafts are pretty rough. I just let the character “walk and talk,” so they can walk and talk your ears off or walk off a cliff and you have to get them back on track. Each subsequent draft hones the various elements. The early drafts mostly work on a plot level. Later drafts deal more with character, polishing, getting the right word or right way of saying something.

Sometimes things don’t quite seem to be coming together. Then you’re walking the dogs and something pops into your head that makes it all come together. It’s like the keystone in an arch—the element that makes it all work. But still, you’re not done.

Once you get that element you still have to fine tune everything. You have to make all the elements fit together. Make sure everything is consistent. As a silly example, I often change descriptions of characters, but I don’t do it as I go along. I’ll do it in the next draft. So if I have a character whose hair is green at the beginning and I change it to pink I need to make sure I do that throughout. On a deeper level you need to make sure that the characters act consistent with the personalities and character traits that you’ve set up for them.

Sometimes as you go along you see possibilities for plot turns and characters that you didn’t initially see and things can change radically.

Then, you want to make sure you say everything just the way you want it said, and use just the right words for everything. Mark Twain famously said, “The difference between the almost right word and the right word is really a large matter. ’tis the difference between the lightning bug and the lightning.”

I was going to say you tie up all the loose threads, but I don’t always do that. I tie up the major threads and story questions, but because life is messy not everything is always tied up in a nifty little bow.

Then, when you think you’re done, put it aside for a couple of days or even a couple of weeks. Go over it again—you'll find things you missed, even though you thought you were done.

Read it out loud. You'll be amazed at the things you missed.

Put it aside again and start the process all over again.

Finally, give it to trusted friends—beta readers—who will give you an honest critique, not just people who will be yes men or women. Your mom might love it, but how critical is she?  And how much about writing does she know?

If you want, you can hire a professional editor to give it another go-over.

But then, you just have to stop at some point, because the best is the enemy of the good, as Voltaire said.

Then you turn it in and inevitably if you read it over after it’s been published you find things you know you could have done better or differently (which = better).

~.~.~

And now for the usual BSP:

Don't forget to check out Broken Windows, the sequel to my Shamus award-winning novel, White Heat. Betty Webb at Mystery Scene magazine says: "Broken Windows is extraordinary."

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The Best of Both Worlds

Which is more important, to tell a story that compels readers to turn pages, regardless of writing craft technique OR to spend time on each sentence, on each word, to fine tune your writing so that your prose is admired by critics and scholars?

by Paul D. Marks

I think Susan and Robin really hit the nail on the head in response to this question on Monday and Tuesday. (And since I’m writing this on Tuesday I haven’t yet read the other two Crim Minds, but I’m sure they will too). But I’ll see what I might be able to add to what they said.
There are really two kinds of writers…story tellers and writers.

If you look at Dan Brown’s The Da Vinci Code – the go-to book for this kind of question – you’d have to assume that good writing doesn’t much matter. Great idea, not so great execution. Did it matter? No. He’s a great story teller, but not a great writer. And poor Mr. Brown, ’cause I know I’m not the only one who uses him as an example. And there’s plenty of others who we could mention here, too. But we all know the story.

Clearly we want readers turning pages. Without that we have nothing. Let’s face it, we’re writing genre fiction. We’re not writing Gravity’s Rainbow, Infinite Jest or other literary works. We want our stories to be entertaining and breezy, with intriguing characters and fast-paced, exciting plots. But what’s wrong with trying to give them a little extra polish in terms of the writing?

We all want our work to be recognized and there’s always that fine line between art and a pure entertainment. But why not go for the best of both worlds?

I find that a lot of the very popular best-selling authors have great stories, but I’m often disappointed because story isn’t everything. Sometimes the writing is flat or other elements like characterization, dialogue and plot are obvious and unoriginal. But they’ve hit on a sort of formula of storytelling that works, but is predictable and boring. And sometimes they might even have good characters and dialog and an exciting plot, but nothing that ‘stirs the soul,’ so to speak. When a book really knocks my socks off, it’s because it has all the elements, great writing, descriptions, dialog, characters and a compelling story and the soul stirring stuff.

James Ellroy seems to have hit that mark of compelling stories as well as being someone who critics like. He developed a distinctive, energetic style in the latter two books of the LA Quartet, LA Confidential and White Jazz. But then he went overboard with that staccato, short-sentence writing to the point where I couldn’t read him anymore. Though I have picked up his latest, Perfidia, and it seems that, while he’s still using that style, he’s toned it down a bit, so hopefully I can start enjoying him again. And if I’ve mentioned this before about Ellroy, sorry if I’m repeating myself.

For my Show and Tell visual example, think of the flat lighting of many TV shows and movies made for TV vs. the more sculptured lighting of theatrical movies. The lighting adds to the atmosphere and in some ways can be a character in itself – just look at any classic film noir from the 1940s.



Well-crafted writing is like the lighting that makes big-screen movies stand out from made-for-TV-movies. Sometimes the same story can seem more magical and rich when produced for the movie theater. Take a look at the original theatrical version of Double Indemnity vs. the TV remake. The latter is flat in lighting and everything else. The lighting creates a mood, just as good writing does.

For myself, I hope my writing is a compelling read and well written. I start off writing a mess of a draft. And in the second draft I start the pruning and adding and fleshing out. That continues for the next couple of drafts. But the later drafts focus more on the fine tuning, where I do try to make sure that the sentences flow and come alive. And that I use the right word. Like Mark Twain said, and I’m paraphrasing, “The difference between the almost right word and the right word is the difference between lightning and the lightning bug.”

The bottom line is that a marriage of storytelling and craft is the best of both worlds.

* * * * *

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Hope to you see at the California Crime Writers Conference

 
(http://ccwconference.org/ ). June 6th and 7th. I’ll be on the Thrills and Chills (Crafting the Thriller and Suspense Novel) panel, Saturday at 10:30am, along with Laurie Stevens (M), Doug Lyle, Diana Gould and Craig Buck.