Category: | Resources

Color Coding Scrivener

Color coding Scrivener is one of my favorite little writerly tricks. It’s just so freaking handy. Here’s how it works.

In the binder of your project simply right-click on any item (or selection of items) and move your mouse down the resulting menu to to “Label.” You can chose one of the existing labels, or click the bottom option there to edit and create your very own labels (for this example, I have created name labels).

Don’t get frustrated when you see no change in your binder after adding a label. To get the colors to show up simply go to VIEW > USE LABEL COLOR IN > BINDER.

Once you’ve told Scrivener to use the color codes in the binder, you’ll get something that looks like this:


For this example, I’ve set up the binder to highlight different points of view. There are two main benefits to this. The first is that you will be required to break your scene when you shift point of view. As a result, you will be less likely to drift between POVs. The other benefit comes when it’s time to edit. If you look at your binder and see 90% of your scenes are from one POV, you might question whether you even need that other POV.


My first novel was told linearly. It took place over about eight days and I found it helpful to have this visual clue as to what scenes took place on what day. Here’s what it looked like (granted, this is many drafts ago, in an older version of Scrivener, but you’ll get the idea):

But there are plenty of other uses for labeling. Here are just a few I have heard writers discuss:

Time Period or Location

If you have a story that shifts around in time or jumps locations, color coding in Scrivener can help you keep track of where you are in time and place. Again, this can be useful for big picture edits. If you had a structure in mind that rotates through time periods or locations in a regular order, then you will be able to see at a glance if the scenes you’ve written match the order you wanted.


Some people use color labels to denote the status of a section of writing. While there is an option for setting a section’s status (right there below the Labels option on the menu), the status option doesn’t allow for color coding. Labels like “first draft,” “final draft,” “needs research,” can be given a color. Then, as you work each scene toward completion, you can watch the colors change. Writer Bronwen Fleetwood has a funny post about his own use of status labels here.

Color Coding Scrivener

I’m sure there are other ways people use color coding. Maybe you are sharing sections of your work as your write it and you want to know at a glance which are out in the world and which aren’t. Maybe there is a Major Event in your story and you want everything before it to be one color, while everything after is another.

If you have a creative way you use color coding in Scrivener, share it here. We are all, forever, learning.

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Use GoodReads to Avoid the Mistakes that Other Authors Make

GoodReads reviewsI had lunch with a writer friend of mine recently. We were talking about the projects that we’re working on, and the challenges we’re facing, when the conversation turned to GoodReads. My friend told me that she’s been using GoodReads to see where other writers have pissed off their readers.

To which I said: “say more.”

And she did. It’s freaking brilliant.

Determine Your Comps

First, she said, she made a list of comparable novels (“comps”). Her WIP has some specific, historical elements that she feels a little nervous about writing, so she chose comps that specifically address the same or similar elements.

For instance, say you’re working on a story about vampires (and I’m totally making this up – my friend’s story is NOT about vampires). You might add Twilight to your list. Maybe. If you’re writing a book about vampires, you probably know more about the topic than I do, and can probably name more than one book. So do that. Make the list as long as you can.

Then investigate.

Do Some Sleuthing on GoodReads

Go to and type in the name of one of your comps. Then, where the website lists the star ratings for the book, click to view the one-star reviews and dig in.

What did people hate about the book? Was there something that haters consistently complained about? Once you feel like you’ve got a sense for the gripes people had, switch to the four- and five-star reviews and see if any of those complaints pop up among readers who loved the book.

For instance, you might find a hater complaining that the story didn’t have enough details to make the lineage of the vampires believable. Then you might find someone who gave the story four stars, but dinged it because they didn’t totally understand the history of the vampires. That my friend, is a trend.

As a writer, you would be smart to take note that readers really need to understand the extended background/history of your vampires.

A Word of Warning

Opinions are like assholes though, right? Everybody’s got one. This little trick my friend was telling me about can go south REAL quick if you get sucked into trying to write something everybody will like. You can’t do it. Writing is art. There is not a single piece of art in the world that everyone agrees on. Let it go.

Do not read “sparkling vampires are lame,” and then decide that your vampires can’t sparkle. If your vision for vampires includes sparkles, you go on with your bad self and make them sparkle. (Except, that’s not a good example, because everyone will know you stole that detail from Stephenie Meyer.)

POINT IS – don’t let other people’s opinions shape your story. Instead, consider that we can all learn from other people’s mistakes. Even if we can’t sit down with our favorite authors for a one-on-one coaching sessions, we might be able to glean, through the feedback of readers, where a story fell a little flat, then turn that knowledge to our own writing and see if we can do better.

Good luck and happy writing!

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Stop Being an Aspiring Writer

For some reason, I love reading self-help books when I travel. Whenever one of these get-your-shit-together kind of titles pops up I always hesitate to buy them because I don’t want anyone to see me carrying it around (because – embarassing). But there’s something about being in an airport, among the crowds of anonymous faces, that seems to open up space and compel me toward their bright covers.

aspiring writerSuch was the case this last weekend in the Portland airport. The kids and I were coming home from a spring break vacation at my sister’s place and I was drawn to the bright yellow cover of “You Are A Badass.”

Apparently, I AM a Badass

I’ve been curious about the book, but every time I come across it I read the blurb on the back: “…the self-help book for people who desperately want to improve their lives…” and I put it down. I’m not desperate to improve my life. My life is pretty good, actually. So I don’t know what compelled me to buy it this time, but I’m glad I did. The plane sat on the tarmac for three hours before it took off – something about engine trouble – and I finished the whole book in one very long day of travel.

The general theme of the book is that you can change the things in your life that aren’t working like you want them to. You do it by looking really closely at your own relationship to those things.

The Scripts that Play

For instance, the author, Jen Sincero, points out that most of us have really conflicted feelings about money. We hate it, but we want it. We love having it, but it is the root of all evil. She encourages us to look at why we have all these conflicted emotions, and then change the script that runs in our heads. And thus… the affirmations.


The author proposes, and I agree, that the stories we run in our heads influence everything we do. And so, we need to be more intentional about the scripts we let play out. She suggested writing down affirmations, putting them somewhere you see them all day, repeating them in your head all day long as you go about your business.

As I read what she wrote, I was reminded of the time that I decided to take the word “aspiring” out of my description of myself. For years I had been writing, every day, on all kinds of projects, but still when people asked I would say I was an “aspiring” writer. What a bunch of BS. As writers, we know better than anyone how much words matter. So I stopped using that word.

I choked on it the first few times, saying “I’m a writer.” It was hard. But the more I did it, the more people saw me as a writer. The more people saw me as a writer the more I felt like a writer. It was just this wonderful positive feedback cycle.

Get Uncomfortable

That, Sincero says, is one of the most important features of a good affirmation. It needs to make you uncomfortable at first. It needs to feel almost like you’re lying to yourself. Or, if it’s easier, start with the word aspiring, then remove it. For example:

I’m an aspiring writer.
Make it: I’m a writer.


I’m an aspiring best-selling author.
Make it: I’m a best-selling author.

This second one is where I’m at now. That’s the actual affirmation I’m using. Of course, I’m not going to walk around telling people I’m a best-selling author. That would be lying (and frankly delusional), but I AM going to put it on a post-it in my bullet journal, where only I see it, and read it multiple times a day. What harm can it do, really? None. And there’s a chance that, as I reaffirm that idea over and over, I will be motivated to do the work that a best-selling author does, busting my ass every day to make my reality match up with the affirmation.

Wherever you are in your journey as a writer, I would highly recommend taking a look at the stories you tell yourself. For a more guidance, check out Sincero’s book. It’s a quick read, and totally worth the time, even if you’re not stuck on a plane for hours and hours going nowhere.

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Seven Steps to Writing a Novel

I came across this video recently and, even though I’m not a big fan of the title (I’m skeptical of anyone who touts easy steps to a bestselling novel), it has some really good advice for those who are struggling to get words on the page. I also like that he breaks down his ideas into 7 basic steps, simple things we can all do.

If you’re having a hard time getting started with your writing, or sticking with it, definitely take 14 minutes and give this a watch:

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Writing the Query Letter Synopsis

query letter synopsisA few weeks back I published a post about sending out a successful query, with a few thoughts on what I thought I did right. One of the main things on that list was spending time on my query letter synopsis to make it as good as it could be.

Since then, a couple of my regular readers (you know who you are) have been encouraging me to share more, to be more specific and post the actual content of my query. I hesitated, because it feels really personal for some reason. I guess it’s personal in the same way that my story is personal, and I’m still adjusting to the idea of it going out into the world.

The Query Letter Synopsis

But I get why it’s of interest. I did a lot of research as I was getting started (check out this article to get started) and I certainly benefited by reading what other people were willing to share of their queries. So today is the day. And even though I cringe to do it, I’m going to share the many iterations of my query letter synopsis along with the thought process I went through to arrive at my final version. My sincere hope is that it will help others out there who are writing their own queries.

Here goes…

Take 1:

I started by writing without too much self-editing, because that’s how I roll with pretty much all of my writing.

Here’s what I got:

142 Ostriches is the story of 22-year-old Tallulah Jones, who wants nothing more than to get out of her small, desolate town in the Mojave Desert. Just weeks before she is scheduled to leave the family ostrich ranch for a job in Montana, Tallulah’s grandmother dies and leaves her the sole inheritor of 142 ostriches. To her extended family’s disappointment, she decides to sell the ranch, but her plans are thwarted when the birds stop laying eggs. As Tallulah does everything in her power to force the sale through, the fragile stability of her family, which has for fifty years been predicated on ignoring unpleasant truths, begins to crumble. To take control of her own life, Tallulah must face the reality of her grandmother’s suicide, her mother’s alcoholism, and her uncle’s deeply buried anger.

Things that work:

  • The title is front and center.
  • The setting of the Mojave is given early on, as is the family ostrich ranch.
  • My main character is introduced by name, along with her age and her greatest desire.
  • I explain the barriers to what she wants.

Things that are weak:

  • It’s wordy (“who wants nothing more,” “dies and leaves her the sole inheritor,” “does everything in her power”), and all of these phrases edge on cliche/boring.
  • It’s missing one of the key components of the story which is the question surrounding the grandmother’s death.

Take 2:

142 Ostriches is the story of 22-year-old Tallulah Jones who inherits her grandmother’s ostrich ranch in the Mojave Desert. Desperate to get out of their desolate small town, and having already been offered a job in Montana, Tallulah decides to sell the ranch as quickly as possible, but her plans are thwarted when the birds stop laying eggs. As Tallulah does everything in her power to force the sale through, the fragile stability of her family, which has for fifty years been predicated on ignoring unpleasant truths, begins to crumble. To take control of her own life, Tallulah must face the reality of her grandmother’s suicide, her mother’s alcoholism, and her uncle’s deeply buried anger.

Things that are working:

  • Better words (desperate, desolate, thwarted, predicated) replace wordy phrases.
  • I get the question of grandma’s death in there at the end.
  • It’s 20 words shorter.

Still not good:

  • It would be good to get the question of grandma’s death in there sooner, because in the story that intrigue starts on page one. It’s not a side note.
  • It misses the fact that my main character is not a stranger to the ranch. This is her home. It would be a very different story if she were a city girl who inherits an ostrich ranch.
  • The second half is still kind of wordy and cliche.

At this point I sent it to a couple of trusted writer friends (who know my story) for feedback, so Take 3 actually gets longer as I try to work in ideas at their suggestions.

Take 3:

142 Ostriches is the story of 22-year-old ranch hand Tallulah Jones who inherits the family ostrich business after her grandmother dies under questionable circumstances. Desperate to get out of their desolate Mojave town, Tallulah decides to sell the ranch as quickly as possible, but her plans are thwarted when the birds stop laying eggs. While guarding the secret of the missing eggs, Tallulah does everything in her power to force the sale through, while her family descends on the ranch like vultures. When Tullulah’s mother, whom she hasn’t seen in a decade, arrives days late for the funeral and wreaking of cheep rye, the fragile stability of her family, which has for fifty years been predicated on ignoring unpleasant truths, begins to crumble. To take control of her own life, Tallulah must pull her head out of the sand and face the reality of her grandmother’s almost certain suicide, her mother’s alcoholism, her uncle’s covetous anger, and her own aching loneliness.

Things that are working:

  • Got the “questionable circumstances” of grandma’s death in there at the top.
  • I added the fact that my main character takes a deceptive tact in trying to hide the fact that the birds have stopped laying eggs as she attempts to force the sale through. This gives a better sense of what she is doing to clear the hurdles in front of her.
  • I like the “pull her head out of the sand” line. It is a story about ostriches, after all.
  • There are more details about the family, but…

Not working:

  • It’s too long again.
  • Even though the I like the imagery of vultures, it seems like too many birds for one synopsis.
  • The “to take control of her own life” feels cliche.

Take 4:

22-year-old ranch hand Tallulah Jones wants nothing more than to escape the desolate desert town where she has lived and worked with her grandmother since she was a girl. But when her grandmother dies under questionable circumstance, Tallulah finds herself the sole inheritor of the family ostrich business. Still hoping to build a life for herself away from the ranch, Tallulah quickly arranges to sell her inheritance, but her plans are thwarted when the birds stop laying eggs. Guarding the secret of the missing eggs, Tallulah endeavors to force the sale through while her extended family descends on the ranch. To take control of her own life, Tallulah must pull her head out of the sand and face the 50-year legacy of a family in turmoil: the reality of her grandmother’s almost certain suicide, her mother’s alcoholism, her uncle’s covetous anger, and the 142 ostriches whose lives are in her hands.

Things that are working:

  • I like that last line, where I explain the title of the book.
  • There are some good verbs in there: escape, guard, endeavor, descend.
  • I’ve got the main plot points covered.
  • It matches the tone of the book.
  • I’m thinking I’m close but…

Not working:

  • Still hate that “take control of her own life” line. Ug.
  • Not sure about introducing her as a “ranch hand” in the first line like that.
  • The setting of the ostrich ranch has been pushed to the fourth line. Not good.
  • It’s still a little longer than I’d like.

At this point I was ready to say “eff it,” good enough, but my husband (what would I do without him?), encouraged me to dig in and get to where I was genuinely satisfied with it. So, deep breath,

Take 5:

142 Ostriches follows 22-year-old Tallulah Jones, who wants nothing more than to escape her life as a hired hand on the family’s ostrich ranch in the Mojave Desert. But when her grandmother dies under questionable circumstances, Tallulah finds herself the sole heir of the business just days before the birds mysteriously stop laying eggs. Guarding the secret of the suddenly barren birds, Tallulah endeavors to force through a sale of the ranch, a task that is only complicated when her extended family descends, threatening her ambitions and eventually her life. With no options left, Tallulah must pull her head out of the sand and face the 50-year legacy of a family in turmoil: the reality of her grandmother’s almost certain suicide, her mother’s alcoholism, her uncle’s covetous anger, and the 142 ostriches whose lives are in her hands.

Final tweaks:

  • I cut 12 words to get it down to 138 words, which will fit nicely into a query letter.
  • The phrases “just days before” and “suddenly barren birds” give a better sense of the urgency of story and the tight timeframe I use in telling it.
  • The phrase “threatening her ambitions and eventually her life,” hints at the fact that this is a story that goes beyond family squabbles. Shit gets serious.
  • I rewrote “take control of her life” into “with no options left…” Because that’s where a story should turn. She doesn’t step up because she’s all so eager to take control of her life. She steps up because she fucking has to.

So there you have it.

It would have been much easier to leave it as it was after the first pass, but I’m glad I pushed myself through the iterations to a version I’m satisfied with. It took hours of work, over multiple days, because walking away and getting some distance was definitely part of the process.

It’s not easy, but neither is writing a novel. You can do it.

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Write The Ending That Everyone Expects

expected endingNot long ago I heard a piece of writing advice that went something like this: tell your friends the main idea of your story and ask them how they think it will end. Go there. Write the expected ending.

The Ending Everyone Expects

She had me up until that last part (I’m all for feedback and beta readers), but go there? You mean, take the story exactly where every reader will expect it to go? No way.

As writers, the last thing we want to do is tell a predictable story, miright? We want to amaze and surprise and do anything except what is expect of us.

But the more I thought about it, the more it made sense.

Satisfying Endings

Hear me out. When Luke Skywalker goes to take out the Death Star, you know he’s going to be successful. When Dorothy sets out to find her way back to Kansas, there’s really little doubt that she will get there. The endings of those stories are satisfying because the characters end up exactly where we knew they would.

I’ve always thought that endings had to surprise the reader, but when I really think about it, it’s not the ending that needs to be unexpected, it’s the path to the ending.

It’s About the Journey

Who would have thought that Dorothy would fight winged monkeys and melt a green witch when all she really wanted to do was go home?

And when Luke turns off his guidance systems and uses the force – I mean, that’s the cool part, the part where you worry for just a second that he’s making the wrong move.

It seems to me that this is our challenge as writers, not to blow people out of the water with an ending they never saw coming, but to instead make things so hard on our characters that it seems impossible that we can deliver them to the expected ending. Then, when you get them there, it’s not boring or tired, it feels super satisfying.

Exceptions Make the Rule

Maybe it’s just me. I know there are examples of outstanding stories that veer way out from what is expected. Fight Club comes to mind. As do some more narrative works of fiction like Min Jin Lee’s Pachinko or Amanda Coplin’s The Orchardist.

What do you think? Should an ending be predictable? Is it more satisfying as a reader to land right where you pretty much expected you would?


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Ask Why 5 Times

ask why 5 timesI struggle with backstory. I’m never sure how deep to go into my characters. I’ve heard people say that you need to know everything about them, and there’s a certain logic to that, but EVERYTHING? Do I really need to know what kind of ice cream my antagonist enjoys? Maybe. Or maybe not. Who can say?

Well, I stumbled across this little trick I’m calling “Ask Why 5 Times.” I overheard someone talking about it at the Writer’s Digest conference, so I’m sorry I can’t cite my source, but stay with me here. It’s a good idea (I wish it were mine).

Ask Why 5 Times

The basic idea is to make like a toddler and just keep asking why. Start with something that your character does. All writers know how this goes: You’re writing a scene and your character says or does something you didn’t expect. For instance, I’m working with a character right now in my second novel who is a jerk to women. He just kind of came out that way. So I asked why.

  • Well, he had his heart broken recently.

Why was his heart broken?

  • He was naive and young and out in the world on his own and kind of latched onto this girl who was much more worldly and she just wasn’t that into him.

Why was he out in the world at such a young age?

  • Because his parents died, and he didn’t have anyone to take him in.


  • His parents died because they were in an accident. No one would take him in because times are tough, and his one aunt simply couldn’t afford another mouth to feed.

Why are times so tough?

  • It is the middle of the Great Depression.

What We Can Learn

Okay, so now I have a better sense of this guy. He’s not just a dick. He had a really rough childhood marred by the death of his parents and rejection by his aunt. He is (or at least was) really lonely and fell hard for a girl who brushed him aside. So he has repeatedly turned to women for comfort and been rejected. It doesn’t excuse his behavior, but it does help me understand it.

Each answer in the above sequence could be a story all it’s own. In fact, I get little glimpses of scenes as I re-read my answers. I’m not going to write out all those details, not for this minor character, but I could. And if this were one of my main characters, I totally would.

It’s an interesting exercise to bring to my writing, especially now that I find myself at the beginning of a new project. It’s not so fun with the manuscript I just finished. When I ask why 5 times of my first novel it’s less exciting because I know all the answers already. I figured them out without this little trick, it just took me nine years to do it.

So there you go. May my eavesdropping save you a few years of floundering.

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Research for Fiction: Where to Start and How Much To Do

Research for fictionI’m working on the first draft of my second novel right now. It’s an idea I’ve toyed with for years, making random notes and tucking research away for safe keeping. Then, in November of 2016, while my first novel was resting in a drawer for a little while, I took the NaNoWriMo challenge and got a solid 50,000 words on the page for this story.

Now, as I go through the process of querying agents for my first novel, I am finding that it’s really nice to have a well-established work in progress to turn my attention toward.

It’s kind of a beast of a story, as it is now. It jumps around in time and POV. I am absolutely enamored of it, partly because it’s like a giant puzzle I have to figure out. Which parts of the story are important? How does it unfold? How much research do I need to do?

It’s that last question that I’ve been thinking a lot about.

Amor Towles

A few months ago, at an Open Book event in Pasadena, I had the pleasure of seeing Amor Towles talk about his book A Gentleman in Moscow, which is set in the early 1900s in Moscow. One of the things he talked about was the research he did. He said two things that were surprising to me:

  1. He tried not to do too much research
  2. He didn’t do it until he had the story down

His rational, which makes a lot of sense to me, is that your story is not (or at least it shouldn’t be) about the historical events that are happening around your characters. Novels are about people, their lives, their loves and losses. Find the human story first.

He was also quick to add that both of his acclaimed novels are set in times and places that he had a base knowledge about before he started writing, a general sense of things that came from simply being interested in the era. It wasn’t liked he threw a dart for the place and rolled dice for the year to set it in. He had always been curious about Russia in the early twentieth century so he knew what he was getting into.

Kristin Hannah

Contrast Towles with the Author Kristen Hannah. I heard her speak at the Write on the Sound conference in Washington just a few weeks before the Towles event. She said that, when she was working on The Nightingale, she researched everything. Everything.

She said she started with a world perspective. She read up on the global politics of the second world war in order to place herself in the world of her characters. Then she narrowed in on Europe, then France, then the small town, and the lives of specific people.

Her advise on researching was to keep going until you’ve read two non-fiction books in a row on the topic/time/place without learning anything new. Dang. That’s some thorough research.

My Own Research

I definitely fall into the Towles camp of wanting to focus on the human story. I also, thankfully, had the sense to set my story in a time and place that I am (and always have been) intensely interested in. So I’ve got that going for me.

But I’m also taking Hannah’s advice to heart. I’ve started devouring every book I can find that might be even tangentially related to the story I want to tell. I’ve been underlining passages and compiling everything I find into a Scrivener file I’ve set up with the draft (yet another reason I love Scrivener).

I know I have a long road ahead, but at least right now I am loving the process. Being a writer is like becoming a little mini-expert, over and over, with each new project. It’s kind of like going back to school for a mini-masters degree, but without the tuition.

If you’ve ever worked on a research-heavy project, how did you manage it? Did you start or end with the research? How did you organize it? I would love some advice as I start to sort through everything I have in front of me.

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Scrivener 3.0 ~ What You Need To Know

Scrivener 3.0If you use Scrivener, you are probably aware that the company recently released an update for the software: Scrivener 3.0. If you’re like me, you’re probably feeling a little nervous about it.

Worth It?

I like to think of myself as pretty tech savvy, but updates always make me cringe. Because even if they’re great (and let’s face it, software upgrades can be full of glitches) updating can mean wrapping my brain around new ways of doing things.

So even though I’m a total Scrivener nerd, I dragged my feet a bit on downloading the update. But last week I decided to go for it and let me just tell you now, officially, for the record: it’s good. You can update now and go right back to writing. Seriously, it didn’t require any extra brain power to get up and running with it.

And though they added a lot of cool functionality (which I will be blogging about in the weeks to come), it is basically like it was before with a slightly muted color scheme. It’s $20 for an upgrade from Scrivener 2.0 and $45 if you’re starting fresh. (Use the code APRILDAVILA for a 20% discount.)

What You Need To Know About Scrivener 3.0

There is only one tiny thing I would say you need to know to avoid frustration as you make the transition and that is the new location of the search bar. The search bar used to be at the top right. In the update they’ve moved it to the header, but it’s kind of hidden.

See the header bar at the top, and how it tells you want section you’re looking at. In this case, it’s my whole manuscript.
Scrivener 3.0

If you hover over the header bar, it now tells you your word count and word count goals. (more on this in future posts)
Scrivener 3.0

And if you click on it, you get the search bar:
Scrivener 3.0 So now you know.

Watch This Space

As I mentioned, I’ll be blogging about some of the cool new features in Scrivener 3.0, so make sure to check back, or sign up for my newsletter and get posts delivered directly to your inbox every Friday.

A few teasers of what I’ve discovered so far:

Ohhh… there are fun times ahead. Stay tuned.

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Create an Audio Recording of Your Manuscript for Better Editing

audio recording manuscriptIn November, while at a writing retreat at the Dorland Mountain Arts Colony, I took a day to record myself reading my manuscript out loud. It was an idea I got after listening to Lindsey Lee Johnson talk about writing her debut novel The Most Dangerous Place on Earth. (Yet another reason to go see writers talk about their work in person.)

She mentioned, just off hand, how she had recorded herself reading the manuscript when she thought it was done and ready, and then played it back to take it in aurally. She said that she noticed things in it that she hadn’t before, when she listened to it like that. So I decided to give it a try.

Here’s what I learned.

How to Make an Audio Recording of Your Manuscript

audio recording manuscriptI did a little research on good recording apps and settled on VoiceRecorder. I didn’t need any bells and whistles, just a good, reliable recording device that would allow me to easily back up my files.

I made one recording for each chapter and saved the file as that chapter name (see the image below with the heading “Recordings”). When I got to chapter 10, the app wanted to list it after Chap 1, which kind of messed up my system, so I had to name chapter 10 “Chap 910,” and chapter 11 was “Chap 911.” It’s a little wonky, but I found that when the time came to play it back, things went much smoother. In fact, the app doesn’t so much as click as it transitions between chapters, so when I had everything in order and hit play, it was super easy to listen through.

audio recording manuscriptAs for the actual reading, I debated whether to print out my draft, but settled on reading it from the screen. It turned out to be a good choice because I could fix little typos as I came across them, which saved me the hassle of having to go back over a paper draft to make quick and easy edits.

Because I was reading from the screen, I kept my notebook open beside my laptop for bigger notes. I tracked thoughts and ideas as they came to me, organizing them by chapter. When an idea hit (say I realized a continuity issue, or noticed an opportunity to add a detail), I would just hit pause on the app and scribble in my notebook. The app can hold the pause as long as you need, and in the playback it is completely silent. Good for bathroom breaks too.

One thing I learned a little too slowly was that I didn’t need to read loudly. I started as if I were reading to a crowd, nice and clear and strong, and by chapter three my throat was killing me. The mic is super sensitive. You can use a soft, quiet voice and it will pick it up just fine. And I highly recommend having some throat numbing cough drops handy. And tea. Lots of tea. It took me about nine hours to read it through. In hindsight, it might have been better to break this into two days.

When I was done, I backed up the files to my Google Drive, but you can also email them to yourself or upload them to DropBox. Your choice, but backing up just seems the wise thing to do.

Make The Most of Your Playback

I recorded myself reading my manuscript on the last day of my writing retreat. Then I came home to Thanksgiving week and the kids were off school, so I took a week away from it. When it was time to jump back in, I wasn’t sure how best to go about it. I didn’t want to read along, because the whole point was to take in the story as an audio book, but I didn’t want to listen to it while I was walking the dog, because I knew I would want to make notes.

I settled on sitting at my desk. I kept my notebook on my right, and had the manuscript open to the chapter I was listening to, but to keep myself from reading along, I used a coloring book. Yep. I colored.

The kids got me this coloring book for my birthday last year and frankly I hadn’t touched it. I mean, who has time to color? But it was perfect for keeping my hands busy while I listened to my story. And I actually love the pages I worked on. Coloring is fun. I had completely forgotten.

Anyway, I let the recording play through, pausing to make notes as they occurred to me. I broke the task into two days of work.

When I was done, I had three pages of notes to address. Partly, that was a list of words that I felt I used too much (felt, seemed), but mostly it was specific story notes, anywhere from three to nine notes per chapter. Some were simple and others required a little more thinking, but there was nothing dramatic. I finally have a story I’m happy with.

I took the first half of December to make all those edits, then sent the final draft off to a copy editor, because seriously, I can read a typo like fifteen times and not see it. She sent the draft back to me this Monday, so now I’m going through and making final final edits.

And then out it goes… Yikes.

So that’s how I created an audio recording of my manuscript. I will probably never listen to it again, but it was very useful when I needed it.

I’m a big believer in the idea that it’s the little things that make a big difference. These tedious final steps, the ones I’ve been so sorely tempted to skip over, have brought my novel to a place where I feel really good about it. From here, I guess only time will tell.

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