I’ve finished my first editing pass through Dark Glass, and after a number of tweaks I’m really pleased with the structure. Of course, there’s still work to do. The writing’s clunky in places, and I’m sure there are repetitions and other issues to deal with. And then I need to go granular, examining the actual words I’ve used.
But I also need to ensure I haven’t added anything to this version that contradicts following books, so I’ve started re-reading the rest of the series. I wrote the original three books a couple of years ago, and even though I can go back over my notes, there’s much I’ve forgotten.
I have fond memories of the second book, Dead Flesh. It’s the darkest book so far, but it also has a very emotional arc for Rodin, as he develops (or maybe uncovers) a stronger conscience. So I was looking forward to re-reading this book.
It starts well, throwing the reader straight into Rodin’s latest contract, and I’m pleased with how I balance the (pretty sickening) violence with Rodin’s growing unease at the acts he’s being called on to perform.
But the book’s not perfect, and as I read on I came across passages that weren’t as good as my writing is now. As I approached the middle section of Dead Flesh, a nagging voice started asking if this book, like the first, needed a re-write.
Now, that voice was nowhere near as forceful as it had been with Dark Glass (and that book definitely needed reworking), but it started a worrying train of thought—if the second book could be improved, then so could the third, and so on. I’m improving as a writer all the time (partly because I’m paying more attention to the way I use words and structure stories, partly through actively learning through craft books and podcasts, and partly because I try to write every day), and so everything I’ve already written has the potential to be improved. I always aim for my next book to be my best yet.
But if I constantly returned to older books, pulling them up to my current writing standard, I wouldn’t be producing any new books. This clearly isn’t sensible—I enjoy creating new stories, and readers who have already started on my books deserve to have those series completed at some point. Just think of the way readers have moaned about the long wait for George RR Martin’s next book. Also, if I want to improve as a writer, that means working on all stages of producing a finished story—planning, writing and editing. I won’t get that all-round constant learning if I’m only editing.
Besides, it’s not as if Dead Flesh is a bad book. As I read on, I became increasingly immersed in the story (one advantage of reading books that have faded in memory). When I reached the climax, I was pleased with how this part of the series reads. I still love how the final scene plays out after all the action and violence, and it sets Rodin up for what he faces in Dominions III (and beyond). Yes, there are things that could be improved in this book, but I’m fine with how it stands.
So I’m not going to re-write Dead Flesh (and, when I get on to reading Deep Water, I doubt I’ll feel the need to re-write that either). Instead, I’m going to continue working on Dark Glass, and then I’ll concentrate on new books With everything I’m learning through this re-working process, I’m sure that new book (Dominions V) will be my best yet—until the one after that.
Previous ‘Reworking a novel’ posts: