Mondays With Wednesday in the Proof

Last night was probably the one night when I wrote next to nothing and still managed to get a lot done.  How’s that, you say?  Well . . .

First off, I finished the prior scene, The Private Lab, which meant writing about two hundred words and bringing it to a short yet satisfying conclusion.  With that out of the way there were things I need to set up for the next scene–you know . . . what I’m going to say, right?  What I needed was a list of the five students who are in Wednesday’s Advanced Spells class.  Like I’d said elsewhere, I had two, I needed three more.

So, I set about getting them using the Scrivener Name Generator, and here they are.

Not a lot, but Wends goes for quality over quantity.

Not a lot, but Wends goes for quality over quantity.

Since Scrivener has a place to put notes for scenes and parts and chapters, I just threw them in on the side there, along with their coven and where they live.  They are:

 

Nadine Woodley—C Level, Coven Mórrígan (Albuquerque, NM)  (Already had her)

Chung Hee Pang—C Level, Coven Ceridwen (Inchon, South Korea)

Rivânia Suassuna—D Level, Coven Åsgårdsreia (Melo, Uruguay)  (Already had her)

Serafena Macrinus—D Level, Coven Blodeuwedd (Catanzaro, Italy)

Hasumati Choudhury—E Level, Coven Blodeuwedd (Lakshmipur, Bangladesh)

 

Pang is, right now, the only boy, and started class at the beginning of this year.  In fact, all the students on this list started this class at the beginning of their C Levels, with the exception of Nadine, who was moved into this class in late March of her B Levels, which means it happened earlier in 2011.  This is what Annie and Kerry are walking into in the next scenes, and being a year or two younger than the youngest students in the room will make them stand out a little.

Nadine and Rivânia are also members of their respective coven racing teams, which will come into some prominence if there’s ever a second book.  As it is, you’ll see Nadine pop up in a couple of other places in this story.

One of the things I was checking last night was my scene breaks.  I used “####” at the end of a scene as a break mark in the story.  It sort of tells the reader that they’re moving from one scene in the chapter to another.  I had some goofy stuff happen when I started on Act Two, so I figured I’d check everything out before I got too deep into the next part.  And since you can tell Scrivener which parts you want to compile and convert rather easily, I just selected all of Part Four so I could look at both chapters.

Compiling so easy you can almost do it with your eyes closed.

Compiling so easy you can almost do it with your eyes closed.

I transformed the writing into a pdf, because that makes a good proof for the story.  You can even pull it into a Kindle if you want to read it that way.

I’m going through it, and naturally i start reading.  This is like reading an ebook, so you mind sort of shifts gears; you block out all the notes and the binder and the status stuff Scrivener has, and you simply read.  And right off the bat, I see errors.  Nothing huge, but still:  the eye picks them out right away.  Right then I had a flash of inspiration:  I edit the novels of my friend Katherine Gilraine this way (and you’ll find the first one here), so why can’t I do the same?

And I started rolling through one of the scenes and found things that could stand a bit of a fix.

It beats getting out the pen, and it's less messy, too.

It beats getting out the pen, and it’s less messy, too.

I know of people who order proofs of their novels and start marking everything up, and since I’m used to going through proofs this way, it only makes sense that if I can generate a proof of my story–either scenes, chapters, parts, or even entire acts–in less than a minute, why not do this and work my edits this way?

After all, anything that gives you an edge when it comes to getting your work right is a good thing, yeah?