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I've been dithering about getting into the rhythm of revisions (as opposed to first-drafting) for a while now. At first I said that I was letting Floodtide rest a bit and I'd just get a first draft of "The Language of Roses" done then return to it. But then I got caught up in that thing where it's nice to actually finish something to balance out the long slog that is novel writing. So I told myself I'd go ahead and revise Roses then return to Floodtide while Roses was out with betas. And I dithered. It's mostly the problem that I"m a very habit-bound creature, and the organization of my time is very different for first-drafting versus revision. And I wanted to get a bunch of blog and podcast stuff set up in advance so I wouldn't be caught by surprise during the holidays. And blah blah excuse excuse.
OK, so NaNoWriMo is good for something, even for me, because it got me to make a public commitment that I'll get Roses revised and out to the betas by the end of November. It has 24 chapter-like-segments and so far I've done one per day in the first three days of November. If I can keep that up, I'll have no problems, even with a trip east and an additional once-through. (I also still need to come up with a bunch of names appropriate for a vaguely fantasyish 18th century France, but that's just a matter of pulling out the books.)
I've also tentatively contracted with a sensitivity reader because a key character is both asexual and aromantic, and while I kind of have to work to not write characters as asexual, I'm very solidly romantic and there are a lot of ways that romanticism gets subtly encoded in absolutely everything.
OK, so NaNoWriMo is good for something, even for me, because it got me to make a public commitment that I'll get Roses revised and out to the betas by the end of November. It has 24 chapter-like-segments and so far I've done one per day in the first three days of November. If I can keep that up, I'll have no problems, even with a trip east and an additional once-through. (I also still need to come up with a bunch of names appropriate for a vaguely fantasyish 18th century France, but that's just a matter of pulling out the books.)
I've also tentatively contracted with a sensitivity reader because a key character is both asexual and aromantic, and while I kind of have to work to not write characters as asexual, I'm very solidly romantic and there are a lot of ways that romanticism gets subtly encoded in absolutely everything.
