anyway, i find that a useful thing is to keep several sheets of blank paper handy as you read through to note important character traits/plot things that you must be consistent in hitting/repeating. i know i’ve got a mention of, say, bombings on page 15 and 23 and then 75 and 150 and 300 – oops, i see that if this is supposed to be a major plot thing, i need to layer it in more consistently between 23 and 75, etc. etc.

Well, time flies when you procrastinate, so I just started on the third draft. To my horror, it was practically a series of infodumps, as well as contradicting every style guide known to man.

I didn’t expect the story to be such a problem, because it’s a short crossover with the two least intelligent cartoons I’ve ever watched. I didn’t want it to be anything intellectual and magnificent.

But no matter what you are writing, whether it’s supposed to be bad or not, it won’t be enjoyable if the final draft looks like it was slapped together.

Oh, I took your advice for circling typos — I’ve been highlighting typos in red on the first readthrough, and general “problem paragraphs” in the second. Then the third readthrough is when I’m on Microsoft Word, editing out said sentences as I read. Then I repeat the entire process.

Read aloud, slowly, carefully, from the start of each line to its end, pausing on each punctuation mark. Then do it again. Then do it again. (3 passes should be sufficient to catch everything you are going to catch.) Then get someone else to read aloud your writing.

Even after 15 years in the editing business, I still do this–because it works.

The first real draft of the story is the first typed section or chapter. I work on one chapter (freehand) while typing the previous chapters…this allows me to build on the story as I create new material. I do not go back and begin the proofing or editing until the story is done. The initial focus for me is ALWAYS the story–because what’s the point in editing and proofing a boring story, right?

When I finish the initial draft…that’s when the real work begins and I have volunteer proof-readers…people who focus on grammar, some on punctuation, others on story flow, plot, etc…and each of them work one chapter with me, offering me their insight and I finalize the revision…ALWAYS reading the story out LOUD so I can hear it…

I have found this help the grueling proof-reading stage become quite an enjoyable and building experience.

Bobby Ozuna
“Drawing Stories…With Words”