I have a lot of editing work to do today. However, because it doesn’t take me much time to do this at the same time I am doing my productive editing work, I’m going to walk you through how I use scrivener for edits.

For our first screenshot, this is a view of my manuscript at the topmost level. This shows the four primary folders I’m working with on the corkboard.

The corkboard is an interesting function. You can switch the order things appear just by left-clicking, holding the mouse button down, and dragging it to its new position. I use this feature frequently. You access it by clicking the folder you want to manipulate. All of the files within can be controlled in that fashion.

For example, look at where it says Mortan on the left hand side. You’ll see Temple of the… Travelling to Trial… The Grand Temple… and so on. If I click Mortan, I will be able to change the orders of those folders by dragging them.

If I were to click Temple of the… I would be able to swap the orders of the two scenes within that folder. Now, I’m going to do a little editing work on this. The next screenshot will be what I’ve done on this page.

As you can see, I added blurbs of information about each of the folders, as well as Document Notes. These document notes serve as something outside of the writing — a to-do list, or special notes you need. The synopsis notes at the top are supposed to be blurbs about what is going on in the scene. As this is a character overview for their arcs, this is simply the character’s name, and the locations that the characters are at during their arcs.

Now, to do some scene nitty-gritty.

The concept is the same here. as I’m going through each file, I change the scene name to make a little more sense, add a to-do list for edits I need to do for that scene. I am skimming the scenes for a quick read, not an intensive read. I’m going to be doing a lot of fixing here, so I just want general to-do list items for each scene. I will be repeating this phase often as I get a better idea of the edits that I need to make.

These edit notes are vague because I don’t tend to do massive line-items unless really necessary. Some scenes will have scene goals as list items if they aren’t written yet. I will show you these later.

This is a good time to discuss the writing functionality of scrivener. It is very similar to word. I use windows, so the dictionary really, really STINKS. But, I use Microsoft Word for final spell-check edits. I prefer that interface over scrivener. I also read text differently between scrivener and word, so this allows me to see the text in a different fashion.

One thing I do like about scrivener is the simplicity of the word processing once you get to the phase you’re writing. I like that I can make notes quickly in the document notes, and I like how easy it is to make new scenes. Uhm, I guess you can enjoy that snippet of the book, seeing as I’m using active text for this. I will blush now. (I really should have thought of this before I decided to use my book as an example of working in scrivener.)

A few things I should probably note at this point: I imported this book manually from word, one scene at a time. While there are ways to import files into scrivener, I found that doing it scene by scene helped me organize things better. If you’re using scrivener from scratch, formatting the scenes to your needs will come naturally as you write. This was hacked together because I didn’t start using scrivener for this book until I was at the second edit run.

While this book is done and has been edited — and submitted — I am continuing to improve it so if it continues to get rejections, I can submit better versions to new agents / editors. I decided I wasn’t going to sit on my laurels and wait for another edit run. For the most part, I’m very pleased with how the book worked out on the first run, but I think I can make it better.

Back to editing.

Time to start setting up Mortan’s new opening scenes. A few things to note about the screenshot below:

  1. I have clicked Temple of the…
  2. Click the arrow next to the green circle with a +.
  3. Click New Text.
  4. Note that I’m in the corkboard function again. I can move scenes around after creating them.

This is the screen you get after going through the process. A few things to note.

  1. It sets your new screen at the end of the lineup in that folder. If you are adding to different sections — like the beginning, you will need to move the scene.
  2. To move the scene: Click the parent folder, in this case, Temple of the…
  3. Click and drag the scene to the appropriate place on the corkboard.
  4. That’s all!

I am going to go ahead and fill in the data for this scene so you can get an idea of how I put in placeholders for scenes I have to write from scratch before I move it.

One thing you may notice is that I do not have description and to-do data for Mortan’s main folder. I don’t feel I need them here, since I have the majority of the to-do work on a scene by scene basis. If I need more to-do work, I would add it to this section, as this is the notes for the folder in general.

Voila! I now know what I intend to do with this scene.

Now, I’m going to show you a little of how I structured my book. A lot of the folders beneath the characters represent locations. I do this because it gives me a feel of where I am in the world I am writing about. This is something important to me, as I’m trying to build not one, not two, but three cultures in this book. Different elements of culture are showing through location. Characters also behave differently depending on their location. This is something i had to pull my hair about a lot.

Find your own way of organizing your work. This is important. If you don’t find a way to organize that works with you, you’ve wasted your time. (And potentially your money!)

I do not use the Characters folder. However, it is the same concept as with the scenes. You will make a file for your characters, include all of the data necessary for them, and so on. You can reference your notes by putting them in the Research section. I created a folder called Discards. This folder is where I’m keeping scenes that I’m getting rid of but need to reference as I work on this edit run. (Right now there are four scenes in there.)

I don’t have to do this right now, but this is something I’m going to show you because it is a very, very, very important feature. Just how do you swap scenes from folder to folder?

Click and drag. But, I’ll let screenshots speak louder than words. (Just click and drag, dump into the folder of your choice. Click the folder and sort in the corkboard. You can also do it on the sidemenu but scrivener is a little touchy about it so the corkboard is often faster.)

I had to hack together this little bit. The screenshot refused to capture the hovering text. The Meeting with the… is a mock of what the floating text looks like, except it has the more bluish background and outline. If you click and dump on a file, like is currently selected, your file will become slave to the scene. You will get a little arrow to expand the scene. You can click and drag to move over the folder if you like.

The ability to have scenes be parents/masters is very convenient if your layout requires sub-scenes or sub-arcs.

Now, on to some rather fancy labeling abilities of scrivener. Do you have poor memory on what is a draft and what has been edited? Noooo problem. Observe the below screenshot. This shows my current status and synopsis for Kalen’s Rifts Edge arc.

Now, here is what I’m doing. I will show you the screenshot when I’ve finished this stage of my editing reference work.

  1. Identifying the blurbs for each scene
  2. Adding basic to-do for each scene
  3. Adjusting scene status
  4. Any notables I might need to remember at a glance

One thing I will note is that I’m not spending a lot of time on each of these notes. This novel has been swiped through with the polishing rag a few times now, and a lot of these improvements are things I considered changing in the last revision run and had not.

I’m now taking advantage of the fact I’m doing an editing run to make these changes I think will improve the book.

Now, how in the world did I set those statuses? I’ll show you.

  1. Right click to bring up the menu on the scene / file / folder you wish to change the status of.
  2. Click Status.
  3. Select the appropriate status.

Those are the basics of Scrivener. Now, for our last trick… compiles.

Compiles are important. This is how you get your precious novel out of scrivener to a format that other program (and people) can read. Right now, your novel is trapped! Trapped in proprietary software mobojumbovoodomagic. Let’s fix that right now.

Click File -> Compile as shown below.

Next, you will want to select the format you want your file in. I have custom settings. For example, I do not have scrivener replace italics with _underscore_. I will show you where you can change this preference after you have done the first compile.

After you select the type of file, it will guide you through saving the file, just like any other program. Save it where you want and let it compile.

Done. You can open it in whatever program you want and take a look at your file. If you want to change the settings for compile, you will click that blue arrow above the Compile for: Section in the screenshot above. It will take you to the screen shown below. You will want to likely change things in the Transformations category, which is where the controls for italics, em-dashes and ellipses are shown.

And that is the very basics of Scrivener. It can do a lot, lot more, but this should (hopefully) be enough to get you started with using it if you want. You can find Scrivener here if you don’t have it already.

 

Originally posted on March 28, 2011.

I managed to wrangle a writer with some very interesting views on the relationships between reading and writing — and in some cases, the lack thereof. Please, sit down and grab a scone and a cup of tea. Relax and allow me to introduce you to James Tallett, creator of The Four Part Land.

Like many of my contacts, I met James on twitter. You can follow him via @thefourpartland.

Before we begin, I wanted to go a little more into the subject matter of this interview: Reading and writing. James has a very interesting view on the relationship of reading and writing. In addition, his motivations for having started genre writing is unique in comparison with many of the other writers I have had the privilege of talking to.

Onward!

~

There are many discussions by writers on how reading impacts the craft. Lately, this discussion has cropped up fairly frequently on twitter and other social networking sites.

Can you tell us a little about the genres that you write?

I mostly focus on writing novel-length fantasy. I’m currently writing two trilogies at the same time, both of the set in The Four Part Land. Book one of each trilogy is complete (mostly), and I’m writing book two of the Tarranau series.

I also started a post-apocalyptic fantasy anthology called Splintered Lands. There’s currently five of us on the writing team, and we’re also open for submissions as well. Because of the nature of the project, there’s been a lot of collaborative writing efforts, which is a first for me.

Aside from the fantasy writing, I do the occasional sci-fi or horror story. I also write a lot of flash fiction, most of which gets posted to the blog. The flash fiction ranges all over, but is mostly little vignettes of life. Often a fairly cruel life.

What attracts you to writing on these subjects?

For the fantasy, sci-fi, and horror, it’s because I love reading them. I collect large amounts of books in those genres, and usually have at least one on the go at any given time. And the length of most fantasy series means that once I find an author I like, I can get several books in a row and plough right on through.

As for the flash fiction, some of that is just personal therapy. It’s fun to write, but I also seem to do better when all the weird thoughts floating around inside my skull are tucked away inside hard drives. Leaves more room for the next strange idea.

What genres do you like to read? Why?

Fantasy, sci-fi, horror, and history. I studied history at university, and I pull a lot of little bits and pieces from that into the settings I create to make them more believable. Perhaps the impact of the Alexandrian phalanx on warriors who had never seen it before, perhaps a political or cultural movement. Motive can fit quite nicely inside almost any setting.

Do the sub-genres of the fantasy, science fiction and horror that you write differ from what you read? (Sub-genres being epic, traditional, gothic, steampunk, slipstream, etc.) If so, how do they differ?

I don’t pay attention to sub-genres, nor do I consider them all that relevant to what I read. Authors are what matter to me, whether the teller can weave a tale that keeps me interested or not. If they can, I’ll read almost anything they put out.

How much of your time do you spend writing versus reading? How do you make enough time to do both?

I try and spend an hour a day writing. The keyword there is try, because all too often I miss that entirely. And the more I miss it, the more I miss it. It’s a snowballing effect, because I’m then out of the writing rhythm and fighting to get back into it.

As for reading, usually a couple of books a week if I’ve got enough decent ones around. Slower if I’m reading large tomes, which is quite common.

As for making time, well, mornings, evenings and weekends make for my common reading periods. Especially in the winter after skiing.

Do you find that your writing style is directly impacted by the types of books that you read? Why or why not?

It used to be more so than it is now, although that’s more because right now I’m working on a longish novel rather than short stories. Shorts get decidedly more affected, and the clearest one I can think of is Breaking an Empire, which was impacted in style and tone by what I was reading at the time. I tend to finish books in between periods of writing, so if it’s a 350 or so page novel, I’ll read that in a day, and then go back to writing the next day without it impacting me too badly.

These days, writing and reading seem to be mutually exclusive to some degree, in that I can only either do one or the other. I either live in my world, or in someone else’s, and I can’t live in two at the same time. Even when it comes to just writing my own work, I tend to be able to focus on only one project at a time, and I need to keep switching to keep the productivity level decent.

Do you feel that reading books on history has helped with writing fantasy, particularly when it comes to world building?

Certainly. The truth is stranger than fiction by a long way, and there’s so much intrigue and conflict in the history of small kingdoms (or large nations), that if a history book can’t give you a few story ideas, I’d be rather worried. There’s so many things that could be borrowed from history, and they don’t have to be reused exactly.

Take the field of Agincourt, for an example. It was narrow, long and muddy, between two forests on either side. In a fantasy setting, it would be a great place to mire trolls or giants, slowing an enemy advance enough that the magicians have time to complete an epic spell to devastate the castle that sits at one end of the field.

Every scene in history has actors, actions, tools, setting, and so on, and all of them can be pulled in piecemeal to fantasy. Or, indeed, to any other story setting. David Drake does this rather a lot. Hammer’s Slammers are futuristic sci-fi tales, but they’re recreating Vietnam battles. Or his Reaches trilogy is the story of Sir Francis Drake, but as a conflict between Venus (England) and Earth (Spain), with interstellar flight providing the New World.

Read history books, there’s something to be found in all of them.

Do you feel that there are any specific books that influenced your decision to write fantasy, science fiction and horror? If so, what were these books and what about them influenced you?

My decision to write fantasy was, in some ways, not my own. It’s a tale I’ve repeated several times, but I was challenged by my mum to write a fantasy book. She knew I was a voracious reader, and not a terrible writer, and so she suggested that I should try my hand at fantasy. Well, about seven years later, I’m halfway through my third novel, and with a large wealth of other material outside of that.

As to specific books, there are certainly some that I truly loved reading, but I don’t know how much they coloured my writing. If I had to list them though, the first three would be Lord of the Rings, Eye of the World, and Gardens of the Moon. Mervyn Peake’s Gormenghast trilogy would be another important book to me, but there are so many I’d spend years listing them all.

World building is a critical part of fantasy writing. Have any of the books you have read directly changed how you perceived your own world?

Not particularly. I always had a good idea of how the world was going to be, and I spent most of the first year in creating the world to a particular note. Did the books change how some of the characters acted within it? Most certainly. But the world itself has stayed fairly stable. I have the very first map of the world that was ever drawn, and it is still recognizably The Four Part Land. From the beginning, I knew that I would be using various Celtic languages to provide the naming and formal language of the setting, and fairly early on I settled down on Welsh, so most of the characters and places have names that mean something in that language.

Now that you are three novels into your own series, do you find that you have to resist being influenced by what you read as you are writing and creating your own world?

Not nearly as much. These days, the characters are old friends. I’ve spent seven years on and off with my head wandering around the setting, and sometimes my feet as well. A few of the places in the setting exist in the real world to a greater or lesser degree, so I know exactly what they look like. Now, once I gather the thread of the writing, returning to Bedwar Barthu Dirio is like going to a familiar vacation spot. A few new things crop up here and there, but it’s all more or less as it was left.

You write flash fiction, short fiction and novel-length pieces. Do you read material of all of these lengths?

I’m primarily a novel reader, and have a large collection in that direction, but I also spend some of my time collecting used anthologies of short stories, and probably have a hundred or more. As for flash, I primarily read those on blogs, although these days I tend to read them less often. I’ve found that as a reader I prefer longer format stories, something where I can get into the characters and spend plenty of time with them.

Your first novel, Tarranau, is scheduled to debut this year. Are you publishing via a traditional house or self-publishing? What influenced your decision to make the choice that you have?

It’s being published through Deepwood Publishing, which is a collaboration between myself and a few others within the fantasy and science fiction genres. We’ve currently got five books under development, and will likely have a six and a seventh fairly soon. It’s a fun project, but it stretches my writing time a little, especially when doing editing work on other people’s material. That’s easier than editing my own, however, since it’s usually a story I haven’t seen before, so I can at least enjoy it somewhat.

The largest reasons for going this route for me was the financial component, and the agency and query model. This way, I have control of both the expenditures on the book, and a much larger share of the income (70% for ebooks). I also don’t have to spend time hunting for agents and submitting the novels, which appeals to keeping the work within my own hands.

Also, because writing isn’t my primary source of income, there’s less pressure on me to make certain the books succeed financially. It would certainly be nice if they sold to that point, but if the first doesn’t, there’s not going to be a dire repercussion on me.

Please tell us a little about Tarranau and your series. How long have you been working on these books? How have you matured as a writer (and reader) as you have journeyed on your own writing adventure?

I started them (I think, I’ve actually lost track) seven years ago, in the college summer vacations. I worked on and off on them for the next five years, completing some short stories, and taking my time to finish the first drafts of Tarranau and Chloddio. I finally completed the first draft of Tarranau in August 09 (I also completed first edits that same month). At that point, I started to become more serious about being an author (I’d finished Chloddio earlier, but for some reason it always felt like a secondary project to me), and that was when I started to seriously examine the publishing industry and self-publishing.

As for the writing, well, I’d never inflict my early first draft writing on anyone, because it was a crime against the English language. Well, okay, it wasn’t completely terrible, but there was a large quantity of bloated description and inaction that had to come out when the stories went through edits. Chloddio lost about 25% of its word count in first edits alone. Tarranau was a little better, losing about 15% overall through the editing process.

The biggest problem I had was I started the stories as a panster. I had no plot, no idea of where I wanted to go. I eventually wrote one down for Tarranau when I was working on chapter three or four, but even that didn’t have a great deal of impact on the writing. It was when I had to completely trash chapter five and rewrite it from scratch that I became a great proponent of plotting. That chapter had to set up the main villains for the book, and one of the main villains for the entire series, and it didn’t. They fell flat, they didn’t have motive. They were useless. So I threw the chapter out, sat down, plotted out exactly what I felt needed to be in there, and rewrote the chapter. It works so much better now.

Since that time, I’ve plotted out every chapter I’ve written, and plotted out every story before it was even started (although the longer plots always undergo revision as the story twists and turns during the writing process). I don’t plot anything under about five thousand words, but above that I’ll jot down a plot, even if it’s just a series of bullet points.

What piece of advice would you give to writers who are interested in creating their own world and writing a series?

Part of answering this is easy, it’s here. I try and post one writing tip a week these days, usually focused around fantasy setting creation for the moment.

There are a few others that I’d add though. Write every day. It makes the writing smoother, easier, and more connected between sections. Letting the writing lead where it must is also important. I have never plotted the death of a main character. But sometimes they die, and that is how the story should be.

 

Thank you so much for taking a little time out of your busy schedule to talk to us. Before I release you back into the wilds . . . If you knew that you would be trapped in an elevator for 12 hours, what five items would you take with you? (No interview is ever complete without at least one stupid question! I refuse to surrender my right to ask dumb questions!)

Cellphone, MP3 player, laptop, internet tablet, and a big battery. I love my electronic toys.

James Tallett
Creator of The Four Part Land
The Land - The Stories

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